Unconventional Materials

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SATURDAY EVENING POST

June 8th, 2024

In the dynamic and ever-evolving language of art, contemporary artists relentlessly challenge traditional conventions by incorporating unconventional materials into their creations. This innovative approach not only broadens the spectrum of artistic expression but also infuses their works with richer, more complex narratives. By breaking free from established norms, these artists redefine both the medium and purpose of art, engaging viewers in distinctive and often provocative ways.

Through their imaginative use of materials, these artists invite audiences to re-examine their preconceived notions of art and its role in society. The juxtaposition of everyday objects and industrial materials within the artistic context disrupts conventional aesthetics and compels viewers to confront the broader implications of the artwork. This recontextualization often serves as a powerful commentary on contemporary issues, provoking political reflection and fostering environmental consciousness.

Furthermore, the integration of unconventional materials in art challenges the traditional hierarchy of art media, elevating the mundane to the realm of the sublime. By doing so, these artists blur the lines between high art and everyday life, democratizing the artistic experience and making it more accessible to diverse audiences. This approach not only enriches the viewer's engagement with the artwork but also encourages a deeper, more personal connection to the themes explored.

ABOVE IMAGES:

Tara Donovan, Untitled, 2014. © Tara Donovan, photo by Ron Blunt

Tara Donovan, Untitled, 2008, detail, installation, polyester film, variable dimensions, © Tara Donovan and Pace Gallery

Tara Donovan’s work exemplifies how everyday materials can be transformed into extraordinary works of art. In her 2014 "Untitled" series, she used toothpicks, straws, and Styrofoam cups to create intricate, organic structures that challenge the viewer's perception of these mundane objects. Each material, when amassed in vast quantities and arranged meticulously, takes on a new form and meaning. These toothpick sculptures appear as delicate, almost crystalline formations that belie their humble origins.

Similarly, Donovan's 2008 installation made from polyester film creates a shimmering, almost ethereal environment that engages viewers with its scale and complexity. This installation consists of sheets of polyester film layered to form undulating shapes that catch and reflect light in mesmerizing ways.

Donovan’s use of repetitive, mass-produced materials speaks to themes of accumulation and transformation, turning the ordinary into the sublime. Her work prompts viewers to reconsider the potential of the materials around them, much like Duchamp’s ready-mades did in the early 20th century.

ABOVE IMAGES:

Marcel Duchamp. Bicycle Wheel. New York, 1951 (third version, after lost original of 1913)

Marcel Duchamp. Fountain. 1971, replica 1964. © Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2024

Marcel Duchamp was a pioneer in challenging the very definition of art. His "Bicycle Wheel" (1913) and "Fountain" (1917) are iconic examples of his ready-mades, ordinary objects elevated to art status by the artist’s selection and context. "Bicycle Wheel," a simple wheel mounted on a stool, introduced the concept of the ready-made, emphasizing the artist’s choice rather than craftsmanship. "Fountain," a porcelain urinal signed "R. Mutt," further pushed the boundaries by questioning the role of the artist and the art institution.

Duchamp’s work provocatively asserts that the artist’s intention can confer artistic status on any object, thereby expanding the boundaries of what can be considered art. This radical idea laid the groundwork for later artists to explore unconventional materials and methods, freeing them from the constraints of traditional media and techniques. Duchamp’s influence can be seen in the way artists like Tara Donovan approach their work, finding beauty and meaning in the most unexpected places.

Salvador Dalí, Lobster Telephone, 1938. Tate. © Salvador Dali, Gala-Salvador Dali Foundation/DACS, London 2024

Salvador Dalí’s "Lobster Telephone" (1936) exemplifies the surrealists' fascination with unexpected juxtapositions. By combining a lobster with a telephone, Dalí creates an absurd and humorous object that disrupts everyday reality. This work challenges the viewer to reconsider the ordinary and explore the subconscious associations between disparate objects. Dalí's use of unconventional materials and forms opens up new realms of possibility within the art world, blending reality with dream-like fantasy.

Dalí’s surreal assemblages invite viewers into a world where the bizarre becomes plausible, and the ordinary transforms into something extraordinary. His work resonates with the playful yet profound approaches seen in Niki de Saint Phalle’s vibrant sculptures and Cai Guo-Qiang’s explosive art.

Cai Guo-Qiang, When the Sky Blooms with Sakura, 26 June 2023, daytime fireworks event, Iwaki, Japan. Image courtesy the artist and Saint Laurent

Cai Guo-Qiang uses gunpowder and fireworks to create his explosive artworks, such as "When the Sky Blooms with Sakura" (2017). This piece involves large-scale pyrotechnic displays that paint the sky with ephemeral, fiery blossoms. Cai’s use of such volatile materials reflects themes of creation and destruction, highlighting the transient nature of beauty and the passage of time. His work often addresses cultural and political issues, using spectacle to provoke thought and emotion on a grand scale.

Cai’s method of creating art through controlled explosions not only redefines the act of creation but also ties in with broader themes of environmental impact and transformation. His works, much like Goldsworthy’s environmental sculptures, emphasize the impermanent and ever-changing nature of art and life. Both artists use their chosen materials to make powerful statements about the world around them, encouraging viewers to see beyond the immediate and reflect on the deeper implications of their work.

Andy Goldsworthy, Storm King Wall, 1997–98, Fieldstone, 60 in. x 2278 ft. 6 in. x 32 in. (152.4 cm x 694.5 m x 81.3 cm). ©Andy Goldsworthy, courtesy Galerie Lelong & Co., New York. Photo by Jerry L. Thompson

Andy Goldsworthy creates site-specific sculptures using natural materials like stone, ice, leaves, and wood. Works such as "Storm King Wall" (1997-1998) demonstrate his deep engagement with the landscape. This serpentine wall, built from local stone, winds through fields and forests, seamlessly integrating with its environment. Goldsworthy’s art highlights the temporal and fragile nature of the natural world, inviting viewers to reflect on their relationship with the environment.

Like many land art, Goldsworthy’s creations do not necessarily have the same life span as a conventional artwork, they are often captured in photographs before they eventually succumb to the elements. This transience highlights the beauty and impermanence of nature, much like Cai’s pyrotechnic displays. Both artists use their materials to draw attention to the fleeting nature of life, creating works that exist in a state of constant flux and transformation.

ABOVE IMAGES:

Anselm Kiefer, These Writings, When Burned, Will Finally Cast a Little Light, detail, mixed media, site specific installation in the Doge’s Palace, Venice. Photo by Pilar Goutas.

Anselm Kiefer, Margarethe, 1981, oil, straw, emulsion, and gelatin silver print on linen, 114 1/4 in. × 157 3/4 in. (290.2 cm × 400.69 cm). The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © Anselm Kiefer

Anselm Kiefer’s work is known for its heavy use of unconventional materials such as lead, ash, straw, and clay. His pieces often delve into themes of history, memory, and mythology, and addresses loss, trauma, death, and rebirth. Kiefer’s monumental canvases and installations, encrusted with these materials, evoke a sense of decay and regeneration. For example, in "Margarethe" (1981), he uses straw to reference the Holocaust, juxtaposing it with lead and other heavy materials to convey the weight of history and memory.

By incorporating materials that carry historical and symbolic weight, Kiefer’s work challenges viewers to engage with the layers of meaning embedded in the physical substance of the art. His use of lead, in particular, signifies both protection and poison, creating a duality that forces viewers to confront the complexities of history. Kiefer’s approach parallels the transformative potential seen in Donovan’s installations and the symbolic richness found in de Saint Phalle’s sculptures.

Niki de Saint Phalle, Tarot Garden, Garavicchio, Italy. © 2019 Fondazione il Giardino dei Tarocchi. Photo: Peter Granser

Niki de Saint Phalle’s "Tarot Garden" (1979-2002) is a monumental sculpture park featuring colorful, larger-than-life figures inspired by tarot card symbols. Made from materials such as concrete, mirrors, glass, and ceramic mosaics, these sculptures are both playful and powerful. Saint Phalle’s work challenges traditional art forms and materials, creating immersive environments that celebrate fantasy, mythology, and the transformative power of art.

Her vibrant, mosaic-covered sculptures are not only visually striking but also imbued with personal and cultural symbolism. The "Tarot Garden" creates a space where visitors can explore and reflect, this transformation of space and material resonates with the large-scale interventions of Christo and Jeanne-Claude and the intimate, transformative experiences created by Janine Antoni and Tara Donovan.

ABOVE IMAGES:

Christo and Jeanne-Claude, The Gates, Central Park, New York City, 1979-2005. Photo: Wolfgang Volz© 2005 Christo and Jeanne-Claude Foundation

Christo, The Gates (Project for Central Park, N.Y.C.), Drawing 1984 in two parts, Pencil, charcoal, pastel, wax crayon, three photographs by Wolfgang Volz, and map, 244 x 106.6 cm and 244 x 38 cm (96 x 42 in and 96 x 15 in). Pérez Art Museum Miami, Florida, USA. Gift of Betty, Kate and Joe Fleming. Photo: Nancy Robinson-Watson© 1984 Christo and Jeanne-Claude Foundation

Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95, Photo: Wolfgang Volz© 1995 Christo and Jeanne-Claude Foundation

Christo and Jeanne-Claude are renowned for their large-scale environmental installations, such as "The Gates" (2005) in Central Park, New York. This work involved 7,503 gates with free-flowing fabric, transforming the park’s pathways into a vibrant, immersive experience. Their installations, often involving extensive planning and collaboration, use industrial materials to alter public spaces temporarily, encouraging viewers to see familiar landscapes in new and surprising ways.

Their works, like "Wrapped Reichstag" (1995), create monumental interventions that alter the perception of everyday environments. By wrapping or encircling large structures and natural features, they invite viewers to reconsider their surroundings and engage with the environment in a new context. This approach shares a kinship with Goldsworthy’s natural sculptures and Janine Antoni’s intimate performances, where the familiar is transformed to reveal new layers of meaning.

Janine Antoni, Lick and Lather, 1993, Seven licked chocolate self-portrait busts and seven washed soap self-portrait busts on fourteen pedestals, Bust: 24 x 16 x 13 inches (60.96 x 40.64 x 33.02 cm) (each, approximately), Pedestal: 45 7/8 x 16 inches (116.01 x 40.64 cm) (each), Installation dimensions: variable. Images © Janine Antoni. All rights reserved.

Janine Antoni’s "Lick and Lather" (1993) consists of self-portrait busts made from chocolate and soap. Antoni licked the chocolate busts and washed the soap ones, engaging in a deeply personal and performative act of erasure. This work explores themes of identity, consumption, and the body, using unconventional materials to create an intimate, tactile experience that blurs the boundaries between artist and artwork. Antoni’s use of chocolate and soap highlights the intimate and fading nature of her work. By physically interacting with the sculptures, she emphasizes the transient and mutable aspects of identity and self-perception.

Charlotte Wall, Black Box, 2024, "6901 Black Metal" Krion, 43 x 60 x 41 in. (109.2 x 152.5 x 104.1 cm). Photo by Kyle Juron.

Charlotte Wall’s work, particularly her piece "Black Box," made from Krion, represents a contemporary exploration of unconventional materials. Krion, an innovative synthetic, eco-friendly material allows for precise sculpting and intricate designs. It is a material that is warm to the touch and similar to natural stone. It is made of two-thirds natural minerals (ATH – Alumina Trihydrate) and a low percentage of high-resistance resins. "Black Box" challenges viewers with its sleek, enigmatic form, inviting contemplation on themes of mystery and the unknown. The sleek, contemporary approach contrasts the conventional forms of raw and unfinished grocery crates.

“The Black Box is the quintessential container for storing facts — recording past histories – above all, keeping information safe.

In the same way, every living organism could be said to carry within itself its own black box, which records and retains past records and experiences without revealing any information about its internal workings. Rather than being a tightly sealed, impermeable container, it exists as a slatted, open-ended vessel that allows for eons of experience and knowledge to flow in and out freely and serves more as a clearing house of useful and not so useful data.

Our black boxes are constantly acquiring and moving information in subtle rhythms of perception. The details in our inherent black boxes hold useful particulars that can be accessed at any time or place; information not only reserved for emergencies or break-downs of highly sophisticated mechanisms but information useful in providing solutions and shedding light on age-old quandaries. Even the new world of AI has its black box systems and claims the mind will be exhaustively understood once we know which inputs yield which outputs.

These boxes, modeled on cheap, wooden crates but made laboriously by hand of deep black Krion, glow like exquisite jewelry and speak to the importance and uniqueness of the contents they hold.”

The innovative use of materials in contemporary art compels us to reconsider the very nature of art itself. It pushes the boundaries of what art can be and do, opening up new possibilities for creative expression and critical thought. In this way, the work of these groundbreaking artists serves as a catalyst for new perspectives on art and life, fostering a richer and more nuanced understanding of the world around us.